非裔美國人的身份認同與異化之研究：以史派克．李的電影為例

黑人演員相當難以在早期的好萊塢電影中嶄露頭角，他們時常被塑造為愚笨或野蠻的形象，例如土著、流氓與小丑等二線角色。史派克．李所製作的電影大多以非裔美國人為重心，它試圖傳達黑人受到殖民者壓迫所造成的存在與異化之議題。因此，本研究藉由該電影探討黑人的諸種異化形式，並從電影敘事理解導演的思維，依此論述史派克．李的異化之形式。由於獨立製片電影能夠避免贊助片商控制其敘事內容，所以本研究欲從電影探討導演的存在與異化，便必須選擇史派克．李的獨立製片電影為研究對象。本文依據電影是否為史派克．李自導自演以及獨立製片兩項條件，再考慮各部電影之間的敘事內容之相關性，最終選擇《為所應為》、《黑潮》與《雷德胡克的夏天》三部電影為主要研究對象。然而，本研究運用敘事分析法將電影轉化為文字敘述的「描述性工具」，並藉由理論框架詮釋其敘事內容。接著，論述過程再額外添入電影的定格影像作為「引述性工具」，便於讀者理解研究所提及的敘事內容與論點。甚至，文中引用史派克．李的訪談內容、非裔美國人的歷史資料與他人的研究結果等，運用此「資料性工具」更可補充說明並增加本研究論述的完整性。整體而言，本研究以法農的後殖民主義為分析框架，並運用該理論所蘊含的存在主義與辯證法探討黑人的存在與異化。首先，本文詮釋主體的意識行為，依此基礎說明黑人的殖民異化與勞動異化，接著再釐清史派克．李的異化形式。結論顯示，史派克．李不可能不知道自己的異化，但是他卻選擇持續製作黑人電影而處於異化之情形，其目的便是為了幫助觀影者思考如何去異化與去殖民。

關鍵字

後殖民主義；存在主義；辯證法；異化

並列摘要

Black actors found it quite difficult to break through in early Hollywood films; they were often portrayed as foolish or uncivilized, taking on roles as gangsters, clowns or country bumpkins among others. Spike Lee’s movies focus mostly on African Americans, as he tries to convey the existential issues and alienation suffered by black people under the yoke of colonial oppression. This study explores the different forms of alienation experienced by black people in Lee’s films, as well as exploring Spike Lee's own personal alienation through the narrative of his films. By making an independent movie, a filmmaker can avoid content control by those funding the movie. Since this research aims to explore the director’s existence and alienation through his films, the study needed to be based on Spike Lee's independently produced films. The decision on which films to include was based on two sets of criteria: first, whether or not they were directed by Spike Lee, and second, whether or not they were independently produced. Then correlation between the films narrative content was considered; finally, three films, “Do the Right Thing,” “Malcolm X,” and “Red Hook Summer,” became the main objects of the research. This study uses narrative analysis to transform the films into textual narrative “instruments descriptifs” and then adopts a theoretical framework to interpret the narrative content. Screenshots from the films are added into the discussion as "instruments citationnels" to help readers understand the narrative content and arguments within. Also included is content from interviews with Spike Lee, historical information, and findings from relevant studies. These "instruments documentaires" help to further explain the study and make it more complete. The analytical framework is based on Frantz Fanon's research into post-colonialism, and it uses the existentialist and dialectical aspects of his theories to investigate existence and alienation within the black community. This study first explains the conscious behavior of the subject; and this forms a basis for explaining black people’s alienation as a result of colonialism, as well as labor alienation. The study then goes on to clarify Spike Lee’s own form of alienation. The conclusion is that Spike Lee has been long aware of his own alienation, but has chosen to continue in this state of alienation and to continue making movies, with the aim of helping moviegoers to consider how to pursue de-alienation and de-colonization.